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I probably did not explain it correctly or completely, and it is a small point anyway, but I was referring to the various tenth intervals sounding simultaneously, like a 2-note chord - not broken. My hand(s) have the span to do it, but I have not worked on the technique enough to accomplish it convincingly for more than a couple of measures. I still "clunk" on A+C#, and on B+D#, and especially on Ab+C.

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Actually John Mehegan said the broken 10ths were a stride aberration. Since that's the only way I can plat them, I have ignored him.

John Mehegan says many things that are a bit strange. Not sure what he's referring to though, as there are different ways to play broken tenths. But, James P. Johnson himself, in his famous "Davin interview", said that the broken downward tenth was very important.

James P. Johnson is THE man...I go with anything attributed to him. I will play broken 10ths and sometimes go with a 3rd instead of a 10th, a 5th or an octave. I am more ragtime [work on it] than stride [do not work on it but play it at gigs sometimes] though, but I love stride/

Well, I'm no expert on stride, but I think it always involves "boom-chucks" with the left hand in some form, nice and bouncy. I can't play the walking 10ths (hands too small) but can roll 'em, so can have fun with that.

Late breaking news on "stride piano". Refer to Mark Levine's "Jazz Piano Book", Sher Music Co., Chapter 17 beginning on page 155 through 166. Lots of notation examples and chord voicings. References to examples in albums. He covers the late Dave McKenna, too, a master. If you are going to be studying any jazz piano, Levine's book is considered the bible.

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